By The Adaptation Strategy And Esthetic Pursuit In Isao Yukisada’s Film Works

As the leader of new generation Japanese directors, Isao Yukisada always depitcts Japan’s multi-culture by using his unique visual style and distinctive ethnic characteristics. His movies sometimes reveal a fresh and lively sense of contemporary, sometimes highlight the unique beauty of Japanese tradition, from the hesitation and rebel in "Go!", to the delicate aestheticism in "Crying Out Love, In the Center of the World", also the grand atmosphere in "Year One in the North", Isao Yukisada completed magnificent transformations again and again. In his emotional language and his stories, it runs through a strong sense of realism and power. By using his original visual language and the spirit of exploration, he sketched out the new landscape of Japanese film.Japanese film’s early development is inseparable from the nourishment of the literature, adapted literatures not only require that director has to deliver the concept of the original works, they also need to attract audience’s attention. Isao Yukisada successfully and repeatedly put modern novels and historical classic books on the big screen, because of his unique perspective and boldly integration, his adaption has no affectation and deliberately sentimental moments, it only has the compliance of Japanese aesthetics and the thinking of the reality. His profound understanding of literary works makes his films have both art value and commercial value. This essey is divided into three parts. By comparing similarities and differences, in respects of topics, narrative, composition, editing, between Isao Yukisada and Shunji Iwai, the first part in regard to the trajectory of Isao Yukisada’s artistic creation not only reveals the influence Shunji Iwai had on Isao Yukisada, also affirms the unique movie style of Isao Yukisada. The second part focus on Isao Yukisada’s screenplay. As an operational example for adapting the novel for screen, adjustment of narrative logic, the rewriting of the character background as well as the polishing of the seeing and hearing in the process of Isao Yukisada’s screenplay adapting have been analysed to discuss how to enhance the novel charm without weakening the depth of the novel during the screenplay adapting. At the same time, it’s also discussed in the second part that the gains and losses on Isao Yukisada’s film-making way through the difference of his movie material. The third part is starting from the aesthetic point of view. Combining the traditional Japanese culture with society environment, this part works on Isao Yukisada’s pursuit of beauty of sadness, beauty of unseen, beauty of death, beauty of women and beauty of the pure love, meanwhile, discusses the influence that the Japanese national aesthetic consciousness had on Isao Yukisada’s movie creation.